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² Mayer, Martin, The Met: One Hundred Years of Grand Opera (New York, 1983), 13.Google Scholar

³ Recalled in “Information Bureau,” The Musical Courier, June 22, 1922. The Met's German seasons are described in detail in Horowitz, Joseph, Wagner Nights: An American History (Berkeley, 1994).Google Scholar

⁴ Mumford, Lewis, The Brown Decader. A Study of the Arts in America 1865–1895 (New York, 1931), 3–8.Google Scholar

⁵ Hamm, Charles, “The USA: Classical, Industrial and Invisible Music,” in Music and Society: The Late Romantic Era From the Mid-19^th Century to World War I, ed. Samson, Jim (Englewood Cliffs, NJ, 1991), 303.Google Scholar

⁶ Some examples: Rydell, Mark, All the World's a Fair (Chicago, 1984)Google Scholar; Smith, Carl, Urban Disorder and the Shape of belief. The Great Chicago Fire, The Haymarket Bomb, and the Model Town of Pullman (Chicago, 1995)Google Scholar; Schickel, Richard, The World of Carnegie Hall (New York, 1960)Google Scholar; Dunlop, M. H., Gilded City (New York, 2000).Google Scholar

⁷ Trachtenberg, Alan, The Incorporation of America. Culture and Society in the Gilded Age (New York, 1982), ch. 5.Google Scholar A key text propagating a pertinent stereotype is Douglas, Ann, The Feminization of American Culture (1977)Google Scholar, which sees Gilded Age women confined to “a claustrophobic private world of over-responsive sensibility.” For a critique, see Horowitz, , Wagner Nights, 230–32.Google Scholar

⁸ Perry, Bliss, Life and letters of Henry Lee Higginson (New York, 1921), 298.Google Scholar

⁹ Henry Higginson, “In the Interest of Good Music,” a statement published in various Boston newspapers on March 30, 1881.

¹⁰ Higginson, quote in Symphony Hall. The First One Hundred Years (Boston Symphony Orchestra, 2000), 13.Google Scholar One million dollars cited in Perry, , The Life and Letters of Henry Lee Higginson, 294.Google Scholar

¹¹ Perry, , Life and Utters of Henry Ue Higginson, 392.Google Scholar

¹² Perry, , Life and Utters of Henry Ue Higginson, 315.Google Scholar

¹³ As of 1891, Chicago Orchestra subscriptions cost the equivalent of 50 cents to $1.50 per ticket. New York Philharmonic subscriptions averaged 67 cents to $1.70 per ticket. Higginson's subscription prices averaged 31 to 50 cents per ticket. (Information furnished by the Archives of the three orchestras.)

¹⁴ Perry, , Life and Letters ofHenry Lee Higginson, 317–18.Google Scholar

¹⁵ The critic Louis Elson quoted in Howe, M.A., The Boston Symphony Orchestra 1881–1931 (Boston, 1931), 69.Google Scholar

¹⁶ Green, Martm, The Problem of Boston: Some Readings in Cultural History (New York, 1966) 110.Google Scholar

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¹⁸ Ledbetter, Steven, “Higginson and Chadwick: Non-Brahmins in Boston,” American Music, 19 (Spring 2001): 58–59.CrossRefGoogle Scholar

¹⁹ Higginson's initiative excited appreciation as far away as Britain, where the London Musical Times (July, 1881) marveled: “We believe we are safe in saying [it] has no parallel in musical history. We have many instance of wealthy patrons of art helping young composers, not only to make a reputation, but to practically free them from the great battle of existence, so that they can sustain and add to that reputation in maturer years The object of our Boston patron is avowedly to further the knowledge of the art itself,—not to draw forth new treasures from rising composers, but to make thousands acquainted with the treasures lying around them. The realization of this object is still in the future; but meantime we cannot withhold the expression of our admiration at the noble manner in which the project has been organized.” Reprinted in Dwight's Journal of MusicJuly 16, 1881.

²⁰ DiMaggio, Paul, “Cultural Entrepreneurship in 19^th Century Boston,” parts 1 and 2, in Media, Culture, and Society 4 (1982): 318.Google Scholar

²¹ Schabas, Ezra, Theodore Thomas. America's Conductor and builder of Orchestras, 1835–1905 (Urbana, 1989), 190.Google Scholar

²² Culture and instability: Smith, , Urban Disorder and the Shape of Belief, 31.Google Scholar Benefactors, Horowitz, Helen Lefkowitz, Culture and the City: Cultural'Philanthropy in Chicago from the 1880s to 1917 (Chicago, 1976), 6.Google Scholar

²³ When Auditorium stockholders objected to the sale of box seats (for fifty cents) at the Apollo Club's workingmen's concerts, Peck and Apollo director William Tomlins refused to bar workingmen from the boxes. When the stockholders next asked that the velvet appointments of the boxes by protected by canvas from the “tobacco, grease, and other illadvised concomitants of poorly educated existence,” Peck replied via the press: “Protect nothing! If I had my way I would double the velvet hangings for the occasion.” Peck himself shunned the box seats of the city's theaters. On Peck, see Mark Clague, “Chicago Counterpoint: The Auditorium Theater Building and the Civic Imagination” (Ph.D. diss., University of Chicago, 2002): esp. 99, 376.

²⁴ Horowitz, , Culture and the City, 111.Google Scholar

²⁵ Horowitz, , Wagner Nights, 248–49.Google Scholar

²⁶ Huneker, James G., New Cosmopolis (New York, 1915), 70.Google Scholar

²⁷ Howells, William Dean, Selected Letters (Boston, 1983), vol. 3, 223.Google Scholar

²⁸ The Musical Courier, December 23, 1903.

²⁹ DiMaggio, Paul, “Classification in Art,” American Sociological Review 52 (1987): 440–55.CrossRefGoogle Scholar

³⁰ Significantly, Thomas and Krehbiel were self-made immigrants' sons. Hammerstein was himself a self-made immigrant. For more on the New York music scene, see Horowitz, Wagner Nights. For Seidl and democracy, Horowitz, , Wagner Nights, 211.Google Scholar

³¹ Neilson, Francis, My Life in Two Worlds (Appleton, WI, 1953), 94–97.Google Scholar

³² Quoted in Finck, Henry T., ed., Anton Seidt A Memorial by his Friends (New York, 1899Google Scholar; rept. 1983), 32.

³³ Neilson, , My Life in Two Worlds, 143–53.Google Scholar

³⁴ Huneker, James G., Steeplejack, vol. 2 (New York, 1923), 10.Google Scholar

³⁵ Kessner, Thomas, Capital City: New York City and the Men behind America's Rise to Economic Dominance, 1860–1900 (New York, 2003), esp. xviiGoogle Scholar, 24, 29, 238–39. Adams quoted on page 332.

³⁶ Levine, Lawrence, Highbrow/Lowbrow. The Emergence of Cultural Hierarchy in America (Cambridge, MA, 1988), 101–02.Google Scholar

³⁷ See especially Story, Ronald, The Forging of an Aristocracy: Harvard & the boston Upper Class, 1800–1870 (Middletown, 1980)Google Scholar; and Beckett, Sven, The Monied Metropolis: New York City and the Consolidation of the American Bourgeoisie 1850–1906 (Cambridge, MA, 2001).CrossRefGoogle Scholar

³⁸ DiMaggio, , “Cultural Entrepreneurship,” 47.Google Scholar

³⁹ DiMaggio, , “Cultural Entrepreneurship,” 35.Google Scholar

⁴⁰ Beckett, , The MoniedMetropolis, 267.Google Scholar

⁴¹ This is a central observation of Horowitz, Wagner Nights.

⁴² Horace Greeley, then a presidential candidate, was observed at an Anton Rubinstein re cital “transported…to the land of dreams.…In his ecstatic trance his audible breathing was a comforting assurance to the myriads who look to him to save the country that he still lived.” A few months later the New York Weekly Review published “Nature's Sweet Restorer,” beginning: “At nearly every concert where the better class of music is performed you may see somebody asleep.…The oratorio, the Thomas Symphony concerts, the Rubinstein concerts all are attended with great regularity by faithful slumberers.…” See Dexter Smith's, December 1872, and Dwight's Journal of Music, April 19, 1873. I am indebted to R. Allen Lott for these references.

⁴³ The same could be said of my own Understanding Toscanini — How He Became an American Culture-God and Helped Create a New Audience for Old Music (New York, 1987).

⁴⁴ Sheean, Vincent, The Amazing Oscar Hammerstein: The Life and Exploits of an Impresario (London, 1956), 252–53.Google Scholar

⁴⁵ Horowitz, Understanding Toscanini.

⁴⁶ Smith, , Urban Disorder and the Shape of Belief, 199, 206.Google Scholar